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A 
i ON FREE VIEW 
BEGINNING SATURDAY, FEBRUARY 12TH 
UNTIL DATE OF SALE INCLUSIVE 
FROM 9 A.M. UNTIL 6 P.M. 


OIL PAINTINGS 


BY THE LATE 


Alfred Gornelius Howland, N.A. 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
BY ORDER OF EXECUTORS 


On WEDNESDAY AND THURSDAY EVENINGS 
FEBRUARY 16TH AND 17TH ~ / ssp 
AT 8. 15 O’ CLOCK 


AT THE AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH, NEW YORK 


Illustrated Catalogue 


OF 


OIL PAINTINGS 


BY THE LATE 


~ ALFRED CORNELIUS HOWLAND, N.A. 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY ORDER OF EXECUTORS 


ON THE EVENINGS HEREIN STATED 
CaTaLocuep By Mr, Cuartes DeKay 


THE SALE WILL BE CONDUCTED BY Mr. THOMAS E. KIRBY, OF 
THE AMERICAN ART ASSOCIATION 
NEW YORK 
1910 


al aa 


Press of The Lent & Graff Company >, al 
137-139 East esth St., New York == 


CONDITIONS OF SALE 


1. The highest Bidder to be the Buyer, and if any dispute 
arise between two or more Bidders, the Lot so in dispute shall be 
immediately put up again and re-sold. 


2. The Auctioneer reserves the right to reject any bid which 
is merely a nominal or fractionad advance, and therefore, in his 
judgment, likely to affect the Sale injuriously. 

3. The Purchasers to give their names and addresses, and to 
pay down a cash deposit, or the whole of the Purchase-money, if 
required, in default of which the Lot or Lots so purchased to be 
immediately put up again and re-sold. 

4, The Lots to be taken away at the Buyer’s Expense and Risk 
within twenty-four hours from the conclusion of the Sale, unless 
otherwise specified by the Auctioneer or Managers previous to or 
at the time of Sale, and the remainder of the Purchase-money 
to be absolutely paid, or otherwise settled for to the satisfaction 
of the Auctioneer, on or before delivery; in default of which the 
undersigned will not hold themselves responsible if the lots be 
lost, stolen, damaged, or destroyed, but they will be left at the 
sole risk of the purchaser. 


5. While the undersigned will not hold themselves responsible 
for the correctness of the description, genuineness, or authen- 
ticity of, or any fault or defect in, any Lot, and make no War- 
ranty whatever, they will, upon receiving previous to date of 
Sale trustworthy expert opinion in writing that any Painting 
or other Work of Art is not what it is represented to be, use 
every effort on their part to furnish proof to the contrary; fail- 
ing in which, the object or objects in question will be sold sub- 
ject to the declaration of the aforesaid expert, he being liable 
to the Owner or Owners thereof. for damage or injury occasioned 
thereby. 

6. To prevent inaccuracy in delivery, and inconvenience in the 
settlement of the Purchases, no Lot can, on any account, be re- 
moved during the Sale. 

7. Upon failure to comply with the above conditions, the money 
deposited in part payment shall be forfeited; all Lots uncleared 
within one day from conclusion of Sale (unless otherwise specified 
as above) shall be re-sold by public or private sale, without further 
notice, and the deficiency (if any) attending such re-sale shall be 
made good by the defaulter at this Sale, together with all charges 
attending the same. This Condition is without prejudice to the 
right of the Auctioneer to enforce the contract made at this Sale, 
without such re-sale, if he thinks fit. 

8. The Undersigned are in no manner connected with the 
business of the cartage or packing and shipping of purchases, 
and although they will afford to purchasers every facility for em- 
ploying careful carriers and packers, they will not hold themselves 
responsible for the acts and charges of the parties engaged for 
such services. 

Tue AMERICAN ART ASSOCIATION, Manacers 


THOMAS E. KIRBY, AvcTIoneErER. 


ALFRED C. HOWLAND, N..A. 


Ir ever a painter expressed his own character in his work it 


was Alfred C. Howland, who died ten months ago at Pasa- 
dena, California, in his seventy-second year. The kindly, 
sunny temperament that endeared him to his fellow-mem- 


bers of the National Academy of Design and the Century 


Association is reflected in the pictures now brought to- 
gether. That happy disposition, which broke readily into 
humor, made him the most companionable of men and al- 
lowed him the friendship of persons of very diverse natures. 
He had a genius for comradeship and found points of sym- 
pathy with characters as different one from the other as the 
late Homer D. Martin and the living Winslow Homer—as 
le pére Corot and Jean Francois Millet. 

Born in Walpole, New Hampshire, in 1838, he began 
life as an engraver in Boston, but soon shifted to New 
York, where he became identified with the art movements 
of the city for more than forty years. An instructor at one 
time in the schools of Cooper Union, he became an Associate 
in the Academy in the seventies and Academician in 1882. 

While the Academy occupied its building on Fourth 
Avenue he was a fairly regular exhibitor, generally offering 


some unpretentious little landscape or village scene or bit 


of rustic genre, which never failed to make its presence felt 
among the larger canvases by reason of its attractive col- 


-oring and a certain snap and subdued gayety all its own. 


One came to look for these modest and often amusing tran- 
scripts from nature and country life at home or abroad in 


order to find relief from that overwhelming mass of dullness 
which is characteristic of all gatherings of the yearly out- 
put at an art centre, no matter in what country they ap- 
pear. 

A trait which endeared him to his associates was his 
zeal in urging buyers to take the pictures of his comrades 
rather than his own. An old-acquaintance who at one time 
acquired a good many pictures tells me that he could never 
manage to get a Howland, because, whenever he met the 
painter at an Academy show, he persuaded him to take a 
picture by someone else. The late Samuel P. Avery was 
another who noticed this somewhat rare characteristic, and 
his. statement is corroborated by Mr. Thomas B. Clarke, 
who for many years was a discriminating collector of can- 
vases by local painters. 

Another touch to show the man he was: Whenever he 
set up his easel children gathered about him. His per- 
sonality was so attractive, his pantomime and fun so fas- 
cinating, that he was forced to hire the big boys to keep the 
little ones at a workable distance. In France particularly 
the village children regarded him as fair prey. Since he 
painted on without knocking off work for meals, he gained 
the sobriquet of L’? homme qui ne mange pas. This, being 
taken literally by the smaller fry, gained him no little added 
notoriety as a stout and fairly well-nourished party who 
seemed to flourish in violation of the ordinary rules that 
govern life—something between an angel and a wizard! 

The pictures exhibited here prior to an executor’s sale 
form a fragment only of Howland’s lifework, but they do not 
fail to represent him; because he wrought conscientiously 
whatever he attempted, and was singularly, robustly free 
from moods. The unsold work in his studio at the time of 
his death contains very few sketches and unfinished pieces. 


When he set his hand to a picture he generally finished it. 
Moreover—and this is of much greater import—when he 
worked, it was with joy. That pleasure he found in his 
work illuminates his canvases and infects the beholder un- 
wittingly with a pleasurable glow. 

Keen to appreciate the humorous side of persons, 
animals, things, Howland enjoyed all the racy village char- 
acters with whom he came in contact during his summer so- 


journs in New Hampshire, Vermont, Canada. In truth he 


had known them or their like since childhood. There is one 
particular figure of an elderly Vermont farmer which for a 
long time was a favorite with Howland. He drew the man 
from the life. To the figure as well as to the face he im- 
parted a good deal of the dry humor and shrewdness of the 
original; nor did he forget the quaint clothes and gait of 
the man. Indeed, he may be said to have stamped on art a 
type of countryman which appealed to the caricaturists of 
the comic press. Very naturally, they exaggerated where 
Howland kept well within the facts. In place of his kindly 
humor they furnished grotesques. 

Similar if not exactly the same types are seen here in 
No. 139, “Election Time,” and No. 93, “Dinner’s Ready”; 
in No. 6, “The One-Hoss Shay,” and Nos. 80, 81, 82, 
““New Hampshire Militia Veterans.” 

Pownal and Windsor in Vermont, Walpole in New 
Hampshire, and Williamstown in Massachusetts were happy 
hunting grounds. At Williamstown he lived ten years. 
Bellport and Southampton on Long Island were other fa- 
vorites. He may be said to have preserved from oblivion 
many natives markedly full of character whose children have 
grown up under changed conditions. He has also given a 
new lease of life in art to picturesque farm houses and land- 
marks now swept away, such as one sees here in “Farm 


House, Pownal,” “Old Mill at Ashfield,” “Feeding Chick- 
ens,” “Farm House, Murray Bay.” 

That Howland was an artist who had seen cities and 
‘men is plain enough from these pictures. When at Kissin- 
gen he paints a landscape (No. 23) that includes the 
chateau occupied by Prince Bismarck. A memory of Roth- 
enburg on the Taube is the “Prisoner’s Tower” (No. 103), a 
bit from that extraordinary survival from the wreck of the 
Thirty Years’ War, more perfect in its gateways and walls 
and overhanging housefronts than anything else of its kind 
in Germany. 

During his earlier visits to France he made the ac- 
quaintance of Corot and often painted along with him in the 
life class. That peculiar way which Corot had of flickering 
his trembling leaves against a light but cloudy sky im- 
pressed the American painter, for we find it again in several 
of these landscapes, showing how alert he was to seize upon 
a new method of painting the ends of branches in movement 
athwart fine gray masses of cloud, a method which Corot 
may be said to have been the first to introduce to the world. 

One of the large canvases that remains unsold is a view 
of a height near Cherbourg crowned with medieval and old 
churches, overlooking waters which are famous in American 
eyes because of the duel between the Kearsarge and the Ala- 
bama. In 1864 the priests, peasants and gendarmes gath- 
ered one day on this mount to see a battle between modern 
‘ships, as their ancestors had gazed on earlier fleets in con- 
fet. Howland depicts them spellbound at the sight of the 
circling vessels as they manceuvre for position and work their 
deadly guns. A brisk breeze is fanning the height, lifting 
the big white bonnets of the peasant women and blowing 
the gown of the venerable priest, who had dismissed his con- 
gregation from early mass at the sound of the guns. Some 


Tuer Ficut Between THE “KEARSARGE” AND THE “ALABAMA,” CHERBOURG, JUNE 19, 1864. 


Owned by the Unrrep States Navat Acapemy, ANNapo.is, Mp. 


have spy-giasses to aid them. In the foreground are two old 
peasants moving slowly on to join the crowd at the edge 
of the cliff; in these figures he has caught the short steps 
and rheumatic gait of old age. Far below, emerging from 
the smoke of their guns, are the Kearsarge and the ill-fated 
Alabama, about to undergo in her turn the punishment she 
had inflicted on so many unarmed vessels. The painter has 
expressed well the excitement among that picturesque as- 
semblage over a conflict long awaited but always uncertain. 
- For although the Kearsarge had sailed out of the neutral 
port, leaving a challenge to the Alabama to follow, it was 
doubtful to the last whether Raphael Semmes really meant 
it when he swore he would meet the Union vessel on the high 
seas. 

Many of these figures are portraits. Though he was 
not an eye-witness of the fight, he painted buildings, hill and 
ocean on the spot and knew well a number of persons who 
formed.the gallery gods at this drama of direful war. 

A still larger canvas, which is not here, will be remem- 
bered by Yale men, that of the row of old brick buildings 
at Yale, now almost entirely gone, and in the foreground 
the “fence” sacred in the legendry of undergrads. Perched 
like crows thereon or leaning against it are many Yalensians 
who in later years came to distinction by various paths 
through life. This picture has had a wide fame in black 
and white. 

Howland had a good eye for color and a very delicate 
perception of the quiet side of nature, the charm of rustic 
life, the hush of woodlands late of an afternoon. He was an 
inlander by birth and bringing up. The ocean with its 
movement and fits of grimness never drew him away from 
this love, yet fate held for him that he should cross the At- 
lantic many times and close his life near the pounding shores 


of the Pacific. Although inured from boyhood to winter 
sports, he felt no call to paint the American winter land- 
scape, beautiful and full of color as it is. He belongs with © 
Martin, Kensett, McEntee, Wyant, in this sympathy for 
sylvan lore, this avoidance of subjects that call up sterner 
ideas. Corot, not Courbet, would be sure to attract him, - 
and indeed such was the case. His bent led him to study 
closely atmospheric conditions. Many of his pictures show 
a rare sense for those gradations of tone by means of which 
painters are able to suggest the invisible atmosphere itself, 
making the mind see by inference: what in strict truth the 
eye does not register, causing us, one might almost say, to 
touch the intangible. Examples are “French Village with 
Tower” and “Quilted Sunlight.” 

Before taking up his profession Alfred Howland in 
1860 went. abroad and studied at Diisseldorf, then the 
customary ground for American students owing to the 
great demand which at that time existed in the 
United States for pictures by the Diisseldorfers. There he 
fell in with a singular fellow, a veritable figure out of Hoff- 
man tales, with Wiertz, that impish hunchback whose tricks: 
in paint are still a sensation to those who visit the Wiertz 
Museum. With him he passed many a white night. But 
the romantic school of landscapists headed by Rousseau and 
Millet drew him to Paris. As a pupil of Lambinet he came 
to know Vibert and Zamacois and Du Maurier. Through 
Corot he made the acquaintance of Millet, Rousseau and 
Diaz. When the late Daniel Cottier began to show Bar- 
bizon pictures in New York one of the few Academicians 
who hailed the new school was Howland. He even tried to 
explain its quality to the old guard, which yielded but. never 
surrendered, to the staunch conservatives for whom Diissel- 
dorf remained the only foreign art centre. Among his 


special cronies were Winslow Homer, Homer D. Martin, 
Woodsworth Thompson and George B. Butler. 

This brief sketch is meant to bring before the reader 
the man, rather than to fix his place in art. Whether with 
knapsack on back, like a jolly student, Alfred Howland 
made a walking tour through the Schwarzwald, or, as a 
visitor to Fontainebleau Forest, he sketched the glades and 
adjacent fields, always he felt the same interest in simple 
country folk that he did when in his New Hampshire home. 
His heartiness, a certain homespun directness of manner and 
speech, appealed to them and put them at their ease. Wher- 
ever he went he liked to form acquaintance with men of the 
farm and sea, looking about especially for those of racy 
natures and storing his memory with their quaint talk. 
Anecdotes showing their humor and shrewdness were always 
forthcoming when Howland began to call on the reservoirs 
of fun, fact and fiction drawn from many lands. 


CHARLES DE Kay. 


CATALOGUE 
FIRST NIGHT’S SALE 
WEDNESDAY, FEBURARY 16, 1910 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 8:15 O’CLOCK 


No. 1 
NEAR THE SOUND, STAMFORD, CONN. [p50 
SOUVENIR of a visit to Stamford, Conn., at a time R Ye 9 
when Shippan Point, southward on the Sound, was /" 
not yet invaded by villas. Large ‘‘ erratic block ’’ 


near the water’s edge. 
Height, 8 inches; width, 54% inches. 


Mime No. 2 


oy 5 NEAR NEWBURYPORT, MASS. 


Ricu, small composition in greens and blues. Rest- 
ful scene, full of harmony and grace. 
Height, 7% inches; width, 12 inches. 


E WE. Apiorel No. 8 


ot A HILL FARM, WALPOLE, N. H. 


APPRECIATIVE study of a typical home of farmers 
near Walpole. Late afternoon-—old, half-neglected 
farm from which the young people have gone to the 
city or to the West. 

Height, 5 inches; width, 10 inches. 


so  Meory Af fr 


(Sie eee 
DISTANT VIEW OF 
WILLIAMSTOWN, MASS. 


PASTORAL conceived in light tones. In the distance 
one distinguishes the hall of the Kappa Alpha Fra- 
ternity of Williams College. Bright and lively scene. 

Height, 10 inches; width, 7 inches. 


No. 5 ky Dr 
NEAR MORICHES, L. I. / j / 


y? 
View taken near the entrance to the village; char- 


acteristic oak and pine wood on white sandy soil. 
Height, 7 inches; width, 10 inches. 


 Adhiam Brew — Xo. 6 


~~ 


ufehe 


TWO VETERANS OF THE WAR OF 1812 


Tuis General in ‘‘ regimentals *’ used to take the lead 
of the Fourth of July procession in a venerable 
and wonderful ‘‘One-Hoss Shay.’’ Character sketch 


from life at Walpole, N. H., birthplace of the artist. 
. Height, 7 inches; width, 10 inches. 


Lb shies Sete rpeaeel 


No. 7 CI Gee 


POUND ROCK, STAMFORD, CONN. 


LANDMARK near the northern shore of Long Ae: 
Sound, on Shippan Point, where villas are now going 
up, thus changing the landscape from what it was 


when this was painted. 
Height 8 inches; width, 5 inches. 


No. 8 


IN THE EIFEL COUNTRY (hi : Wise 


UNCOMMONLY broad and simple treatment of a scene 
near the River Moselle, in the country named from 
the Eifel Hills, part of the land fought for in the 
Franco-German war of 1870. Powerful light and 
shade, rich, broad treatment like a sketch by Con- 
stable or Millet. 


Height, 7 inches; width 11 inches. 


[728 


| : No. 9 
y5. ON THE HOOSICK RIVER 
View of the upper waters of the Hoosick River, not 
far from Williamstown, Mass. 


Height, 12 inches; width, 9 inches. 


5 ‘ No. 10 


-f) CONGREGATIONAL CHURCH 
ti SOUTHAMPTON, L. I. 
From the ocean and from the interior of Long Island 
the square tower and fanciful spire of the Congrega- 
tional church at Southampton form a landmark. So 
much so, that when at one time it was painted brown 
the mariners of the South Side petitioned the trustees 
of the church to have it painted white again. ‘Twi- 
light view, the church behind its screen of lofty elms. 


Height, 10 inches; width, 8 inches. 


No. 11 7 In. Tha thew 


| sy ae 
STONE HILL ROAD 
WILLIAMSTOWN, MASS. 


Bir of landscape from the outskirts of the little 
college town which the artist made his home for ten 
years or more. Nice greys and conscientious tran- 


script of the scene. 
Height, 11% inches; width, 9 inches. 


2S) epi Pet 


No. 12 ae 22 
A GLIMPSE OF SAGE COLLEGE, CORNELL 


CORNELL UNIversity is to Ithaca, N. Y., what 
Williams College is to Williamstown, Mass. ‘The 
artist has not made a picture of Sage College, but 
introduced a glimpse of it into his composition. 


Height, 12 inches; width, 91, inches. 


dd 


(te f” No. 13 


Kd SUNSET AT PATCHOGUE, L. I. 
raea 


- 0 


FOoot-BRIDGE with hand-rail over a smooth rivulet 
among willow plantations. A house is seen far up 
the road beyond the bridge, probably the house for 
which this picture was painted. Reddish yellow 
clouds in the west. 

Height 10 inches; width, 11 inches. 


4 Gh Nau 


4 27- A DUTCH PASTORAL 


THE sagging rooftrees and weather-beaten barns indi- 
cate that this is no show-place for tourists like the 
village of Broek, but a more typical note of ordinary 
hamlets in Holland. 

Height 101%, inches; width, 111% inches. 


No. 15 Shure burg 
50 


ON THE SEINE NEAR PARIS 67 


STRONGLY marked cloud masses dominate this truth 
ful bit from the reaches of the Seine, some miles 
below Paris. A thoroughly pastoral land running 
through the bare, highly cultivated arable fields 


between Paris and Rouen. 
Height, 9 inches; width. 13 inches. 


No. 16 ikl fe, pr 


GOING HOME OMe 


Near a slowly moving stream a few cattle lounge 
along, dipping their muzzles alternately in the clover 
and the water. Silvery birches make one think of 
the idyls of Corot, Howland’s elderly friend and 


fellow student. 
Height, 10 inches; width, 8 inches. 


hrm? No. 17 
pg,” PORT JEFFERSON, NEW JERSEY 


TYPICAL smooth-water bank-side, wharfs and old 
barracks. The queer house with sunken rooftree 
and wind-vane, the dock-shed, crane and windlass 
are painted with uncommon liberalness. Even the 
water is a slaty blue. 

Height, 10 inches; width, 14 inches. 


Clon hous No. 18 


4 5° SUNSET AT WALTON, N. Y. 
2 _— - 
d LANDsCAPE in low, rich notes of color, full of harmony 
and calm. 
Height, 14 inches; width, 10 inches. 


Pe ee 


eine. FRANCE 


SKETCH that preserved for the artist a mood of quiet 
pleasure in the scene, of happiness in being out of 
doors in charming weather, of enjoyment of the 
poetic end of day. Pleasant, suretouch. A picture 
all for himself, with no idea of sale. 

Height, 9 inches; width, 1114 inches. 


eg [hauag No. 20 


NEAR PATCHOGUE, L. I. 


| CareruL sketch of landscape within sound of the 
breakers on the south side of Long Island. Grey 


sky and intensely quiet fields and woods. 
Height, 9 inches; width, 13 inches. 


9, Lahn No. 21 


. 
Kl 0. BY THE BARS, SOUTHAMPTON, 


Propuct of a quiet afternoon. This is a familiar 
scene, with its patched fences and fallow fields, its — 
bars let down to allow the cows to be driven back for — 


milking. A farm is indicated in the distance. 
Height, 8 inches; width, 12 inches. — 


oy Ol Wht No. 22 


i? ee THE RIVER 


PLEASING landscape, full of a quiet, pastoral charm. 
Height, 10 inches; width, 12 inches. — 


No. 23 


LANDSCAPE WITH 2 ye Bh 
BISMARCK’S CHATEAU | 


A vikEw at Kissingen, where Prince Bismarck had a 
villa and was wont to appear a good deal in public. 
Taken during one of the artist’s visits to the cele- 
brated watering place. Atmospheric values and a 


charming subdued color scheme. 
Height, 10 inches; width 8 inches. 


0 
10. 


Chester No. 24 


BIT FROM NEWPORT, R. I. 


SKETCH in grey tones as a memento of a visit to - 
Newport, R. I. Like Homer Martin, Samuel Cole- 
man and John La Farge, this painter was attracted 
by the beauty of Rhode Island scenery. 

Height, 12 inches; width, 6 inches. 


OW. Leone No. 25 


A FRENCH GOOSE-POND 


NoTE from the travels of an artist who visited many 
countries, but particularly enjoyed Normandy, the 
region which Millet and Rousseau have celebrated on 
canvas. Although he appreciated foreign lands, his 
own New England was never undervalued or 
neglected. 

Height, 8 inches; width, 11 inches. 


No. 26 Sp Cheetey— 


ON THE VILAINE, FRANCE 2 


AGAINST heavy cumulus clouds, tinged yellow by the 
setting sun, stands a square tower above buildings. 
Below, on the river’s brink, is a shed for washerwomen, 
where they kneel to soap and soak and wring out 
clothes. Tall, swaying trees to the right. A charm- 
ing, peaceful scene. 

Height, 13 inches; width, 9 inches. 


No. 27 Wm. K brautinfa 


AT DORDRECHT, HOLLAND Gf: SO 


THE hipped gable of the nearest house is a pleasant 
introduction to other Dutch characteristics cul- 
minating in the windmill. Delightfully typical bit 
of Dutch townscape and landscape. 

Height, 13 inches; width, 9 inches. 


No. 28 
NEAR PATCHOGUE, L. I. 


\6- THE product of some happy mood in an artist who 
naturally avoided unquiet or lively scenery. Good 
atmospheric quality. 

Height, 9 inches; width, 10 inches. 


/ ; 
4 & Wen No. 29 


2 EVENING AT BELLPORT, L. I. 


INsTEAD of including a sketch of the Great South 
Bay, the artist has preferred, while painting a ‘bit of 


Bellport, to give a spot where one would not imagine ~ 


the nearness of bay and ocean. Quiet, pleasing effect. 
Height, 11 inches; width, 84 inches. 


oe Henge 


IN THE LANE, NEAR GROUT’S CROSSING 


SCENE in Vermont near a ford over the Connecticut 
River. At a bend in the road one sees an old apple 
tree over against a growth of trees which screens the 


view over the valley. 
Height, 10 inches; width, 12 inches. 


Xe) 


No. 31 Ge Willwnro 


NEAR WILLIAMSTOWN, MASS. Oe sae 


A FAVORITE spot for the artist’s easel was some point 
on the outskirts of the college town. Here we catch 
a glimpse of the hall of Kappa Alpha,a Greek Letter 
society of Williams College. 


Ileight, 10 inches; width, 8 inches. 


bf. 


0 


Ys 


bf ator No. 32 


WHEEL FOR SEINE, PATCHOGUE, L. I. 


PERMANENT large reel on which the nets are wound 
when the fish enter the inlets from the Atlantic in 


shoals. Quiet afternoon effect in light tones. 
Height, 9 inches; width, 12 inches. 


h No. 38 
JUNE IN HOLLAND 


A BIT from one of the villages in Holland most 
visited by tourists, who never fail to marvel at the 
energy of its female inhabitants with broom and pail. 
The long, high roofs, red with tile or brown with 
thatch, are only a small part of its attractions. There 
is color everywhere in the vapor-laden air of Holland. 
One woman in background near the gabled house; 


woman and child on bridge in foreground. 
Height, 10 inches; width, 12 inches. 


Mes, 1. Nitliwey 


BIT OF BROEK VILLAGE ty Oi oe 


CHARMINGLY painted is this fragment of a village 
notable for the scrupulous cleanliness of its house- 
wives, one of whom, an old woman, is shown walk- 
ing abroad. The irregular houses, some with gable, 
some with long, sloping roofs to the street, are very 


picturesque. 
Height, 12 inches; width, 10 inches. 


No. 35 Lee eee 


FISH REEL AT PATCHOGUE, L. L 30. — 


Bic wheel on which the seine is wound when fish are 
running and the natives turn out to barrel fish for the 
winter. Young growth of willows near the salt 
water inlet. Light tones, happy effects of early 
summer. 


Height, 9 inches; width, 12 inches. 


lo.” ON THE DELAWARE 


5 


an 


(QUIET river view showing a bend in the stream with 
a village on the higher bank. To the left a man in a 
skiff. 


Height, 11 inches; width, 164% inches. 


| Malev ae 


PYRRHUS WHARF, SOUTHAMPTON, L. I. 


TWILIGHT view of the town pond of Southampton, 
L. I., now called Lake Agawam. The wharf is 
named from a retired sailorman of mixed Indian and 
negro blood who ferried residents across the little lake. 
Pyrrhus was a sailor under Capt. Cooper when the 
latter visited Japan before the day of Commodore 
Perry. 


Height, 14 inches; width, 11 inches. 


No. 388 Hh fo ya 
; : 
HARVEST SCENE IS: a 
-MipsuMMER landscape expressing a sense of peace. 
The river takes a bend and makes one ponder where it 
may be going. Three silver poplars raise their deli- 
cate outlines on the right. 
Height, 10 inches; width, 16 inches. 


af ¢ 
SEs Veep VO row 
OLD BARN AT WALPOLE, N. H. n= 


PLEASING landscape with grey, cloudy sky, and dark 


grove to the left. A bit from the artist’s birthplace. 
Height, 11 inches; width, 16 inches. 


3h 


ff. Bank No. 40 


SUNSET AT PASADENA, CALIFORNIA 


NEAR some houses a band of roving Mexicans have 
pitched their camp for the night like so many gypsies. 
The sunset gives strange shapes to the tall trees that 


draw their silhouette against the glowing west. 
Height, 12 inches; width, 12 inches. 


hunny No. 41 


ON THE VILAINE, FRANCE 


Group of tall young trees and mass of houses against 
a bright horizon near tosundown. ‘The river Vilaine 


in the foreground. Charming little landscape. 
Height, 15 inches; width, 11 inches. 


No. 42 Va 


ON THE CONNECTICUT, NEAR Vik 
WALPOLE, N. H. 


PLEASANT note from the upper waters of the Con- 
necticut River near the village where the artist was 
born. Reverend statement of the facts without 


alterations in favor of the picturesque. 
Height, 13 inches; width, 15 inches. 


No. 43 VEG Baud 
NEAR TORREY’S WOODS RA (ees 


AT the bend of the road are two children going to 
school. The scene is near Williamstown, Mass. 
Loving touch of an artist painting for his own 


pleasure. 
Height, 13 inches; width, 111% inches. 


Thyra No. 44 


<() G WALPOLE BY THE RIVER 


Bir from the neighborhood of Walpole, N. H., birth-— 


place of the artist. The river is the Connecticut. 
Height, 141% inches; width, 13 inches. 


ia 


THE OLD HOMESTEAD 


FARMHOUSES with cattle on the outskirts of W illiams- 
town, Mass. ‘Tall, slender trees screen the farm 
buildings. Early morning effect. 

Height, 12 inches; width, 1444 inches. 


No. 46 (hus. Ni Moan 


JOB’S LANE, SOUTHAMPTON, L.I 35. — 


PAINTED about 1880, this picture is a record of much 
that no longer exists. Job’s Lane exists, but all is 
changed. Rich yellow sunlight effect, fine tones, 
and the intensely quiet, brooding rest of nature on a 


windless day. 
Height, 13 inches; width, 14 inches. 


No. 47 Thon? 
WINDMILL LANE, SOUTHAMPTON, L. 1. 79 4? 


PAINTED about 1880, this view shows a part of South- 
ampton village which has changed greatly. This 
fine old windmill was removed to Shinnecock Hills 


and forms part of a villa. Excellent tonal qualities. 
Height, 16 inches; width, 14 inches. 


lad 


gig No as 


OLD MILL, HARTLAND, VERMONT 


Tuis is one of the landmarks still met with in New 
England, a woolen mill of the old kind. It stands 
grim and brown against a rose-tinted sky. ‘The 
locality is near Woodstock, Vermont. 

Height, 16 inches; width, 12 inches. 


A ae 


MEXICAN CAMP AT SUNSET, 
PASADENA, CALIFORNIA 


Prcuuiar. effect. of the brilliant western sky seen 
through tall trees. The outer foliage, being much 
closer set on the tips of branches, makes the trees 
look like tall harps.. Mexicans have made a night’s 
camp near houses surrounded by a grove of eucalyptus 
trees. 

Height, 14 inches; width, 16 inches. 


a4 ie 
plate 


Pt 


sO 


No. 50 
DUMPLING POND, STAMFORD, CONN. G7 


Late afternoon effect when the color has left the sky 


after sundown. Rich, dark tones. 
Height, 16 inches; width, 111% inches. 


Won. Varter> 


BY THE RIVER, ITHACA, N. Y. Vice 


No. -51 


Country view in the neighborhood of Cornell Uni- 
versity, out of sight of the lake. Four slender trees 
in group to the right. Restful pastoral effect. 


Height, 10 inches; width, 17 inches. 


ff 


60 


A eM No. 52 


MILL AT WILLIAMSTOWN, MASS. 


AN old woolen mill that belongs to the past, but re- 
mains a cherished relic for the townsfolk and the 
farmers of the neighborhood. Note the lines of silver 


birches that give a touch of poetry to the scene. 
Height, 14 inches; width, 11 inches. 


eovge No. 53 


gO VILLAGE IN NORMANDY 


THE single street of a French village with a row of 
thatched chaumieres to the right and three tall trees 
to the left. Old thatched roofs are fine with their 
brown straw, green moss and house leeks, sometimes 
with flowers. They are growing always fewer, be- 
cause the peasants adopt red tiles for their roofs as 
soon as they can afford them. Though dearer, they 
are far more durable and require few and rare repairs. 


Height, 14 inches; width, 10 inches. 


ee eC ee ey eS 


a 


Lr RS ee 


No. 
54 Ws Z LOY: 


COUNTRY ROAD NEAR 
WILLIAMSTOWN, MASS. 44 — 


Deso.aTE bit of arural road enlivened by water and 
trees. A glimpse of the Kappa Alpha Fraternity 


house at Williams College in the distance. 
Height, 14 inches; width, 12 inches. 


tee 


4, bypwt9 No. 55 


AT THE DELAWARE WATER GAP 


THE sky is seen through the interlacing branches of 
trees. The scene represents June on a beautiful 
river, often sung by poets and often painted by artists. 


Height, 12 inches; width, 14 inches. 


A bru ; No. 56 


FARMHOUSE, BELLPORT, L. I. 


A Lona ISLAND farm dwelling of a characteristic sort. 
The old apple trees are more for beauty than use. In 
such pictures Howland showed his kindly humor, 
which touched everything lightly and never became 
spiteful or caricature. . 

| Height, 10% inches; width, 16 inches. 


9S 


ee faye 


NEW ENGLAND FARMHOUSE je- a) 


An old house screened by trees is painted from the 
side where lies the duck-pond. Geese are coming 
toward the water. Feathery trees raise their plumes 


against ajoyous sky. | 
Height, 141% inches; width, 121 inches. 


No. 58 DS Nash 


— 


NEAR MANCHESTER, VERMONT 22 2 


IN a rapid stream near the foreground a boy is fishing. 


Fine, bold clouds enliven the sky. 
Height, 10 inches; width, 16 inches. 


No. 59 


aye Breland 


ja ON THE RIVER SEINE 


A BEND of the Seine not far below Paris where 
slender, tall trees overlook the stream and cows come 
down to drink. The foliage is very tenderly treated, 
reminding us of the influence Corot exerted on the 


artist in the sixties when he studied in Paris. . 
Height, 10 inches; width, 15 ineliess 


No. 60 


9p: allec 


A FRENCH VISTA 


ATMOSPHERIC quality of the best is found in this 
little picture. In the distance rises a pepper-pot 
tower, the remains, perhaps, of some fortified grange, 
the less massive portions of which have fallen down 
and been removed, leaving the tower in lonely 


grandeur on the plain. 
Height, 13 inches; width, 10 inches. 


60 


‘ 


No. 61 hhh Gp, Vie 


CASTLE ON THE RHINE kK). 


_ A Quick sketch with the palette knife showing a view 
in the Rhine valley. The towers of a castle are seen 
- in thedistance. Fine sense of the mystery of falling 


night. 
Height, 1214 inches; width, 15 inches. 


No. 62 


PEA Surtt 


MANCHESTER, VERMONT V0. 
A PRETTY little composition, the pool in the fore- 
ground reflecting the blue of the sky, whence the 
eye goes back to smiling fields and enters the gap in 


the distant hills. 
Height, 15 inches; width, 12 inches. 


Oat No. 68 


if 7 OLD MILL, SOUTHAMPTON, L. I. 


THE old mill on Windmill Lane, here shown, no 
longer sends its sails round and round. It was bought 
and carried away to Shinnecock Hills, where it now 
forms part of the house of Arthur Claflin, Esq. — 
Careful study of typical country houses of the old 


kind which are fast giving way to modern villas. 
Height, 16 inches; width, 11 inches. — 


b will No. 64 


po. THE RIVER-SIDE, 
(4 wes MANCHESTER, VERMONT 


IpyLuic, lovely scene without house or human beings — 
or animals. Slender trees rise gracefully on the 
right ; a grove lies on the left and between are the 


reaches of the river. 
Height, 11 inches; width, 15 inches. 


No. 65 ue yes) 
OLD MILL NEAR WILLIAMSTOWN 77. ih Zend 


_ ONE of the old woolen mills in which the boys and 
girls worked without losing their schooling, lLand- 
_mark of commercial and social habits of New England 


in the past. 
Height, 17 inches; width, 14 inches. 
No. 66 Lusrgt 
SS 
OLD MILL AT ASHFORD, MASS. 20.- 


AN old woolen mill seen through a heavy growth of 
trees, mute witness to another period and other con- 


ditions among New Englanders. 
Height, 18 inches; width, 14 inches. 


My) 


9.4. Banded x, fe 


BRIDGE NEAR TORREY’S WOODS 


A PLEASING composition, with tall young silver birch : 
trees spindling up on the left and a rude wooden ~ 
bridge holding the middle distance and centre. 


Sylvan, solitary corner near Williamstown, Mass. — 
fi Height, 19 inches; width, 17 inches. — 


Me ae | No. 68 


NEAR WILLIAMSTOWN, MASS. 


EARLY spring, with a pale golden haze enveloping 
the young leaves of scattered trees. Barns to right 


and left. Delightful atmospheric effects. 
Height, 20 inches; width, 15 inches. 


No. 69 le 


STREAM NEAR TORREY’S WOODS (pete 


Bit on the outskirts of ‘Williamstown, Mass., where 
the artist spent many years. A woman and child 
lean on the hand-rail of the rustic bridge; a little girl 
just below leans over the stream itself. Happy and 
serene mood, like so many of Howland’s landscapes. 


__ Height, 20 inches; width, 16 inches. 
M- Outi 
of tay Troveyys W vas 
“ee pg ore 5 PMre7 3 


Dae 
Hunn y (Buy Conede 


B7. E 


SECOND EVENING’S SALE 


THURSDAY, FEBRUARY 17, 1910 
AT THE AMERICAN ART GALLERIES 


BEGINNING AT 8:15 O’CLOCK 


No. 70 or ein 


YOUNG NEIGHBOR [7 pie 


Porrrair of a young farmer standing; to be used in 
a larger composition depicting a rustic scene. 
Height, 51 inches; width, 51 inches. 


Nos 71 = (, get 


EA 
“DAY’S LABOR DONE.” A ae a 


AN old farmer is putting up his horse after the end of 
the day’s work. Small, but well-drawn figures of 


man andhorse. Excellent composition. 


_ Height, 9 inches; width, 6 inches. 


Ne eoohr No. 72 
5: “ THE FARMER 


BAREHEADED countryman in a red waistcoat without 
his coat. He stands with a stick in his hand to guide 
his uncertain steps. Careful study for a large picture, 


probably ‘‘ Rendezvous of the Veterans. ’’ 
Height, 51% inches; width, 51% inches. — 


No. 73 
THE FARMER’S WIFE Wolborke oe 


4 ELDERLY woman in “‘specs’’ and apron peeling apples 
as she sits for her portrait. Nicely brushed-in folds 


of apron; character excellently shown in a very small 


figure. 
Height, 6 inches; width, 5 inches. 


UN 


ar No. 74 
J 
A FRIENDLY GLASS ~ 


Rustic character seated at a table drinking “ stone- 
fence’’ with a satisfied air. Careful study for a — 


larger picture. 7 | 
Height, 7 inches; width, 51/ inches. 


u (Ara No. 75 


LEAKE’S POND, WILLIAMSTOWN, MASS. 


THE artist has seized a mood in nature when the 
coloring of the season and the state of the light com- 
bine to rich effects like those which Jules Dupré 


loved. Fine harmonies in a low key. 
Height, 6 inches; width, 10 inches. 


No. 76 fudge eatlad: 


THE WOODLAND CHEF nee Ga 


OnE of the rustic characters Howland loved to paint, 


_a farmer and guide who also cooked for the artists on 


their excursions among the New Hampshire hills. 


- Height, 81, inches; width, 51, inches. 


hlt 1 i No. 77 


CAMP GUIDE AT STODDARD’S POND 


OnE of the gaunt New Hampshire farmer-guides 4 
whom Howland liked to talk with—woodsman, cook 1 
and factotum. Ready to discuss politics and whisky 


with equal gravity and zeal. 
Height, 8 inches; width, 5 inches. — 


0 Wilthaery — ost 


CASTLE ON THE RHINE 


LanpbscaPE taken during a trip in the Rhine valley. — 
To the left a peasant’s cottage, to the right vine- — 
yards near the river. In the distance the towers of 
an old castle on a hill. Fine composition, deep and ~ 
solemn color notes; sense of mystery. | 

Height, 10 inches; width, 13 inches. ; 


No. 79 Ve 7 2 


ON THE WAY TO THE ISLE OF MARCKEN ea cir 


CarEFUL sketch of a Dutch village with its well-kept 
roads and cleansed housefronts. Poplars enliven the 
dwellings, whose long, sloping roofs are full of color 


and charm. 
Height, 11 inches; width, 9 inches. 


Ue In. Wrdunt- 


Ree 


No. 80 
VETERAN OF THE WAR OF 1812 


CHARACTER sketch from life. Study for a large 
picture called ‘‘ Rendezvous of the Veterans,’’ con- 
taining portraits of farmers and others, a picture 
doing for the free and independent New England 
farming class what Millet did so often for the Nor- 


mandy peasants. 
Height, 8 inches; width, 5 inches. 


ily Nowe 


VETERAN OF THE WAR OF 1812 
yd.” 


Rourat character in artillery uniform with the same 
cap seen in Horace Vernet’s military pictures, once 
also in use in the United States Army. This man 
was captain in a militia company commanded by the 
artist’s father. 


Height, 8 inches; width, 5 inches. 


| No. 82 A. Vy. Mk nud- 
VETERAN OF THE WAR OF 1812 Uae 


CHARACTER sketch from life. Study for a large 
picture called ‘‘ Rendezvous of the Veterans.’’ It is 
really a portrait of one of Howland’s old friends in 
the New Hampshire hills. 


Height, 8 inches; width, 5 inches. 


a 


No. 88 VA 


ERLINGEN ON THE MOSELLE 39.— 


PicTURESQUE village on the banks of the Moselle. 
Old round tower which appears to be a remnant of 
medieval fortifications, the rest having disappeared. 
Interesting row of old houses facing the sparkling 


river. Charmingly painted with a crisp, firm touch. 
Height, 71/4 inches; width, 12 inches. 


yo: 


70 
y) 


she 


' No. 84 


} 
GROUT’S CROSSING ON 
THE CONNECTICUT 


Cows are drinking from a peaceful stream which is 
no other than the Connecticut, far up in New Hamp- 
shire. The scene is near Walpole, N. H. Silver 
birches lean over from the left and tall trees stand by 
the river brink in the distance. 

Height, 8 inches; width, 10 inches. 


5 Gr Olt pd No. 85 


THE OLD SIGN-POST 


LANDSCAPE of a quiet sort with a still grey sky and 
autumnal effects in foliage and grass. A bend of 
a river, a row of trees, a pleasant solitary mood. The 
old sign-post points toward human dwellings and 
suggests human comradeship 

Height, 11 inches; width, 9 inches. 


No. 86 Te bei merdugey 


MORNING IN THE NEW ENGLAND HILLS Je 


LoviNnG and delicate workmanship characterizes this 
little landscape. The light of early morning concen- 
trates on the white walls of an old farmhouse. Fine 
mauve and lilac notes have crept into the scene as the 
sun struggles through the dense air close to the earth. 


One of the most charming bits in the collection. 
Height, 124, inches; width, 91% inches. 


. beimerdhin ger 
ES 


THE spirit of Jules Dupré may have been at How- 
land’s side when he painted this strong and rich little 
canvas. Poetic and joyous landscape from the sur- 


No. 87 
‘THE OAK WOODS, WALPOLE, N. H. 


roundings of his own birthplace. 
Height, 9 inches; width, 101%, inches. 


rele Ihplaeleff No. 88. 


co AT COUTANCES, NORMANDY 


y2: 


In a soft sunlight stands a row of thatched barns, 
gabled house, lichen-covered dwelling and ancient 
tourelle, which skirt a road. Strong shadows fall 
across the roadway. JDelicate trees to the left lift 
their branches against a fleecy sky. 


Height, 8 inches; width, 7 inches. 


No. 89 Yo, Thos. Mall’ 


NEAR NAARDEN, HOLLAND 5° 


THE small, tallish houses to the right slope their red 
roofs inward as they border the one street of the ham- 
let. A windmill lifts its cross against the sky in the 


background. 
Height, 111%, inches; width, 9 inches. 


No. 90 Sur. Thro. Nk 


OLD PEASANT HOMES, Ug FF 


BEAUCHAMP, NORMANDY 


A SCENE on which Howland loved to exert his happiest 
energies. The chawmieres, with their old brown 
thatches stand in a curving line to the right, smarter 
red-tiled houses are seen to the left. Gay and 


picturesque little townscape. 
Height, 114% inches; width, 91% inches. 


ite 


i 


Ahurphile No. 91 


FRENCH WATERING CART 


THE green cask mounted on high wheels must have 
struck the painter as a happy note. He has added a 
peasant woman with yoke and suspended baskets. A 


clump of tall poplars suggests Normandy. 
Height, 11 inches; width, 9 inches. 


Vow bra No. a 


WINDMILL, HOLLAND 


PrruHAps the most characteristic things in Holland 
are the windmills, which not only grind grain, but 
keep the water out of low lying pastures and dry 
great tracts of land rescued from the sea-bed. Here 
isa picture of one of these useful and Bicturesque 


machines by which men harness the air. 
Height, 8 inches; width, 10 inches. 


No. 93 
: Se 5 


THE GUIDE’S COCKTAIL way Pare 


_ Cuaracrer from New Hampshire hills. Just before 
_ blowing the horn to summon painters and fishermen 
to their dinner the guide, philosopher and friend, the 
woodsman and cook feels that he must have his cock- 
tail. This is the original cocktail, born before glasses 


were invented. 
Height, 10 inches; width, 8 inches. 


(jot pur No. 94 


a5 


CARNEGIE OBSERVATORY, Si 
| MOUNT WILSON 


View of the Carnegie Observatory near Pasadena, 
California. Below in the valley a farmhouse among 
tall eucalyptus trees. Rich colors in the hilly region 


about Mount Wilson. 
Height, 121%, inches; width, 81% inches. 


No. 95 Wu. Gran hen berg 
< ae : se 2 
OLD CHURCH AND TOWER = 2-7 


Virw of Querqueville, near Cherbourg, France, 
showing the tower of the church which rises on a hill 
near the city. From the hill the naval battle be- 
“tween: ‘Kearsarge and Alabama was viewed by the 


natives in 1864. 
Basa ls SP es eats 15 Height, 10 inches; width, 12 inches. 


No. 96 bltbrare 


MURRAY BAY, CANADA eae? 
THE BIG ROCK, OR “PIC” 


A LANDMARK on the northern shore of the St. Law- 
rence where the river is as wide as a sea. Curious 
‘old houses nestle under the shelter of- the Big: Rock, 
“which i is a notable mark for those who sail the ocean. 
: This big rock, or **Pic,”’ gives the name to the village 
* Pointe-au-Pic,-or, as it used to be: called there in the 
French, Pointe-a-Pic: Note the foreign look of this 
bit of Canada. — ae 


Height, 8 inches; width, 12 inches. 


/0 


ise 


sin nl es 97 " 


MILL AT YAPHANK, L. L 


CHARMING little composition with an an mill wake 4 


concealed in trees to the left and a bridge to the 


right. Note the painting of the arbor behind the | 


house near the mill. 


No. 98 


‘ DIANA’S BATH, “WILLIAMSTOWN, MASS. 
‘Tuis is an ‘‘ ole swimmin’ hole,”’ but Williamstown 


Height, 10 inches; width, 13 inches. 


is a college centre and we need not object to. a clas- os 


sical name or two. The ‘spot is pretty enough to at. 


_tract the goddess of the woods. 


H eight, ‘13 inches; width, ie inches.  - 


. No. 99 ee yo vate 
LEAKE’S POND, WILLIAMSTOWN, MASS. 
Joyous little landscape from the vicinage of Williams 


College. Sober statement of facts infused with a 
subdued gayety, like much of this artist’s work. 


~ Three cows to the left. 


Height, 12 inches; width, 10 inches. 


No. 100 We Vin 


NEAR NAARDEN, HOLLAND Ca 


A Durtcu hamlet with its little houses wearing their 
long sloping roofs like sou’ wester hats—a canal bor- 
dered by trees, all peace and soft uncertain sunlight. 


Height, 12 inches; width, 12 inches. 


te 


gat ald 


. in Williamstown. 


an No. 101 


o ON THE ROAD TO MONT ST. MICHEL — 


A spor just before one comes in sight of Mont St. 


Michel on the French coast. To the right a group q 
of thatched barns and houses; to the left a few trees’ : 


which do not sereen a view of level land. — 


Height, 10 inches; width, 12 inches. 


No. 102 


DIANA’S BATHS, NEAR WILLIAMSTOWN 


Ricu colors adorn. the late summer view of a pic- — 


turesque spot near Williams College, a. favorite 


sketching. ground for Howland during? his jong. Ree 


Height, 11 inches; anaonas inches. 


101 


103 


Me ae a ; ; 
Ai Get asi TAS Mig <8 


&: 


No. 1038 sell Bi, Os cet Bios 


_ PRISONER’S TOWER, rks, Aaa 
; | ROTHENBURG, BAVARIA 


E ROTHENBURG was saved from ruin by its Burgomas- 
ter when Wallenstein captured it, since he agreed to 
drink a gallon of Rhine wine on the spot if it were 

spared. This tower over the moat was where men 
_ were hanged. ‘To the present day the burghers act a 
play with great pomp in which the Burgomaster 
drinks the ‘‘ Meistertrunk’’ and falls unconscious in 


the presence of Wallenstein. 
: Height, 16 inches; width, 9 inches. 


No. 104 Der W. 


—_—-— — 


MORNING BY THE POOL FB? 


fi TyricaL American bit of New England landscape. 
_ A stony pasture negligently guarded by a dilapidated 


fence; dark, cloudy sky, with a light horizon. 
Height, 10 inches; width, 10 inches. 


Nort Sohal Nai 105 


ON THE SEINE NEAR PARIS | 


CHARACTERISTIC view of the valley of the Seine, not q 
far below Paris on the way to Rouen. Solitary rest= a 
ful landscape with clump of trees near the centre in — 


the middle distance. ae . . | 
Height, 9 inches; width, 16 inches. — 


aanernget No. 106 


COTTAGE BY THE BROOK 


_ Picrures of old farmhouse charmingly painted with a j 
wealth of color. The old woman whose bent figure 4 


appears ageusr | the low wall of, the Ore suits | Exe 


actly the scene. 
: | | Height, i inches; width, 14 inches. 


106 


No. 107 Wor. bere 


VILLERS-BOCAGE, NORMANDY TIES 


 Cuaracreristic Norman village, with small high- 
roofed houses nestling side by side, their old thatches 
rich in colors,—greens and blues on weather-stained 
- brown. Painted with particular zest by a lover of 
the picturesque. Note the two figures of adults 


and the child at play. 
Height, 11 inches; width, 15 inches. 


No. 108 WE. Word. 


AT BELLPORT, LONG ISLAND. Ze ae 


Pine woods and oak brush on sandy soil, far from the 
lively waters of the Great South Bay, wood interior, 
with heavy shadows barring the sandy, whitish 


roadway. 
Height, 14 inches; width, 12 inches. 


awe No. 109 as 


- VILLAGE (STREET ey. 
ge : ee) MURRAY BAY, CANADA | 


‘SindutaRvy foteien’ is the look of Umemetreer ina 
‘village on the north shore of the St. Lawrence. It — 
is in the land of the French Canadians, so much — 
painted by Horatio Walker. Gables’ with: hoists, 
whitewashed walls, few and small windows, long — 
roofs of tile or thatch—one thinks of © Normandy 


‘rather than America. ; 
Height, 15 inches; width, 12 inches. q 


Ser f Me. uhh No. 110 


4b: WOMAN FEEDING GEESE 


SORA an old homestead, with a Be shingle 1 roof and ig 
summer _kitchen’ extension, stands an old. woman ; 
feeding poultry. | Tall birches rise near the. house. 
Typical scene in out- of-the- -way parts of the Berk- 4 
shire hills. ” Ng 
Height, 1414 inches; width, 111% inches. 


Wer ia lp Kia 
16° GDiyabuth Wattmenn 


601 


; Anes elie ir ate eh des 


IRS Se uiniges = nts 


oo Pe a * 
f Ae etch Rare 


No. 111 We 4 


SAW MILL AT MANCHESTER, VERMONT 


_A FINE composition of hills crowned by heavy, white, 
cumulus clouds, trees outlined against a light sky, 
water in the foreground and silver birches introduc- 


ing a touch of purity and grace. ; 
Height, 16 inches; width, 12 inches. 


ee No. 112 Ve 
OLD FARMHOUSE, POWNAL, VERMONT 


SHADED foreground with old country house in mid- 
dle distance. Kitchen garden and golden-red pump- 
_ kins in the corn-patch to the left. Peaceful rustic 
scene, soberly and delicately wrought, without allow- 


ing details to spoil the breadth of the brushwork. 
Height, 13 inches; width, 18 inches. 


a cn (Crounburge No. 118 


5} fe LL ON THE BUSHKILL 


cree effects of foliage, rich greens vieing ay, the q 
-dark blue of the sky. The mill is half hidden by a a 
row of trees, like those painted by Hobeee The @ 


-Bushkill is in Pennsylvania. 
Height, 16 inches; width, 12 inches. 


A.M. tudim> No. 114 


— y COUNTRY HOME OF : 
WILLIAM M. EVARTS ~— 


‘THE country house of the late William M. Evarts, 
jurist and public man, is seen to the left in the dis- — 
tance. It is at Windsor, Vermont. Mr. Evarts — 
bought all the land on one side. of the Connecticut, 
here a small stream, and_ his. son-in-law, CLC: 
‘Beaman, all on the other. The view. includes 
both estates. . a My 

Héight, 19 tuohée,'stdthy 16 gabon, a 


cat ene RST ee Ron ae orn ey nien teeter mit 


No. 115 ULL, 


ON THE BUSHKILL, PENNSYLVANIA y 4 52 


A SYLVAN view which has glimpses of wide fields and 
_ pastures beyond. Quiet of the pony: undisturbed 


by human or animal figures. 
Height, 16 inches; width, 12 inches. 


ave 
No. 116 =} fs 
See) 


HAMLET OF RIJSOORD, HOLLAND 


TyricAL Dutch village, with canal and young trees. 


Charming brushwork, delicate and firm touch. 
Height, 16 inches; width, 11 inches. 


a(n va No.1 ky 


ol. SATURDAY AFTERNOON 


Rustic bridge over a brawling stream, with the girls 
and boys fishing or throwing stones into the water. 
Characteristic scene from the neighborhood of Wil- 
liamstown, Mass. Sparkling, quick touch, uncom- 


monly spirited and sure. 
Height, 16 inches; width, 12 inches. 


i 
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i 
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P 


Be eee 


AN OLD- TIME HOME. 


Tue homestead forms a characteristic rural note. 
The sagging roof-tree, aged apple trees and porch 
are typical of old farmhouses in the Seaboard States. 
The old woman and old white horse complete a 
seene in which the child. and the chickens are the © 
only young things visible. 
ocak ae ee Height, 12 inches; width, 16 inches. 


No. 119 Whittbocy 
| Eze 


QUILTED SUNSHINE 


ScENE near Walpole, New Hampshire, where How- 
land was born. Strong effects of light and shade 
along the country road. Excellent quality of brush- 


ge ospnere and color. 
Height, 12 inches; width, 16 inches. 


d. Poeell No. 120 


NEAR CERNAY-LA-VILLE, FRANCE 


A spot famous for the number of painters who have’ 


worked at landscape there. Many of the modern 
French masters have left mementos on the walls 


of the old inn. It is now a favorite stop for curious 
‘tourists, taking a tour out from Paris in their 


automobiles, 
Height, 16 inches; width, 14 inches. 


wal. 6 INIW? No. 121 
NOON ON THE FARM 


TypicaAL American farmhouse of the old sort, perhaps 
a relic of a hundred years ago. Low side walls, long 
roof and single chimney. An. old woman in cap 
and apron is looking after her cows near the pool in 
the foreground. Pale, yellowish cumulus clouds, 


. feathery trees on right. 
Height, 15 inches; width, 13 inches. 


il ti aa taille amie 


Ter 


No. 122 Qh bo “ee 
t 


AT BRIQUEBEC, NORMANDY BS, 


PICTURESQUE is the tower that closes the line of red- 
tiled and brown-thatched chaumieres on the left, and 
graceful is the row of four slender trees to the right. 
i. Heavy shadows are cast across the road by the sun- 
light of midsummer. 

Height, 15 inches; width, 12 inches. 


No. 123. SL WW. herrea 
Wem % 


AT MURRAY BAY ON THE 
ST. LAWRENCE 


Tue long red roofs that slope to low whitewashed 
walls proclaim the country of the habitans, the French 


settlers of Canada. 
Height, 12 inches; width, 15 inches. 


 Lbrerke Noe 


STREET IN ROTHENBURG, BAVARIA 


Narrow streets and just the beginnings of sidewalks, 
tall, over-hanging house-fronts and a slender spire of 
sixteenth century architecture give a suggestion of 
the old walled town on the river Taube which Wal- — 
lenstein spared during the thirty years’ war. Quiet 
and thoughtful work inspired by the delight of the : 


American artist in all that is quaint and picturesque. | 
Height, 151% inches; width, 12 inches. 


Chtor No. 125 


ay ee == = ee . Erba . ii aa a 
cS g Ca ee hs ee en, SO ey RE a ae ee 


ad 


MAIN STREET OF WILLIAMSTOWN, 1871 


Jupcinc from the lonely look of the country. road 

which. winds back through groves, it is hard to 
realize that this is the chief thoroughfare of Williams- 

town, Mass., as it appeared about forty years ago. 


Height, 121% inches; width 17 inches. 


te hin No. 126 WE 
BY THE MILL, WALPOLE, N. H. Ny 


- Br of old- dni facts in the Paholica of the artist. 
~The mill i is half hidden among trees to the left and a 
grove balances the composition to the right. Skiff 


(] Mp the millpond i in the foreground. 
Height, 14 inches; width, 17 inches. 


No. 127 i VA Vigeales 


_ NEAR STODDARD’S POND, ee 
NEW HAMPSHIRE 


OLp farmhouse, surrounded by hickory and other 
trees; looks like the birthplace of a famous statesman 


such as the Bee ESS show. 
Height, 12 inches; width, 18 inches. 


Whdttlacy No. 128 


SUNSET AT caper ibe dPh ‘ H. 


hs 


THE glow of orange and red in the west. stele: an | 
elevation very dark. On the hill are house and ; 
barns. A serious but not unhappy mood is ExDrCsocay | 


by this pleasing landscape. 
Height, 111% inches; width, 161%, inches. — 


4 Deano Nowa) 


ST. ANDREWS-ON-THE-DUNES 


i ViEw at Southampton, L. I., of the Episcopal 
Church, formerly the /ife-saving, now the soul-saving — 
station. This church was given by the late Dr. — 
Loomis of New York. Seen from Lake Agawam. on q 
which are catboats of Summer residents. lLifeboats — 


on dunes to left. Fine atmospheric effects. 
Height, 13 inches; width, 19 inches. ; / 


No. 130 The. en 


NEAR TORREY’S WOODS 
Nee 


AFTERNOON sketch, carefully finished, showing a 
view in the neighborhood of Williams College. Yel- 
low cumulus clouds tower above the country road, 


which is shut in by tall trees. 
Height, 16 inches; width, 12 inches. 


No. 1381 Tipps lee 


ON THE HOOSICK 
lOo= 


LANDSCAPE from New Hampshire reflecting the 


- natural features of the country in an out-of-the-way 
spot. Pleasing composition of woods, pastures and 


flowing stream. 
Height, 12 inches; width, 17 inches. 


No. 131 & 
OL Farm fee 


de 


We Nn At No. 182 


fy ae WELCH HOUSE, 
WILLIAMSTOWN, MASS. 


TypicaL old farmhouse near the home of Willunies 
College, with its summer kitchen, neglected ores 
trees and absence of flower plots. 


Height, 12 inches; width, 19 inches. 


0 Pag No. 188 
SUNSET, WILLIAMSTOWN, MASS. 


HERE the horizon has a brilliant section shut in ay 


dark wings of verdure. Note the way in which the ; 
branches of the trees are painted against the light . 


sky, recalling Corot. 


Height, 15 inches; ee hie inches. 


13 


No. 184 ie. Prin 
VIEW OF WILLIAMSTOWN, MASS. ae Yorgs. 


DELICATE and impressive view in the neighborhood 
of Williams College, with a suggestion in the dis- 
tance of the town’s higher buildings. ‘Trees against 


the sky like those of Corot. 
Height, 18 inches; width, 16 inches. 


[55 


bur & Hear No. 135 


DISTANT VIEW OF WALPOLE, N. H. 


THE native place of the artist. Strong bands of 


shade lie across the country road. In the distance 


are the roofs of Walpole and beyond are the New 
Hampshire hills. Scene full of the quiet, happy 


spirit of the artist. 
Height, 17 inches; width, 15 inches. 


iw. brteohes No. 136 


RIJSOORD VILLAGE, HOLLAND 


THE village of Rijsoord is not far from the old city of 


Dordrecht and it has the canals and windmills that. — 


constitute the traditional features of countries that lie 
below the level of the sea. Painted with love and 
discrimination. Fresh and original composition. 


Height, 17 inches; width, 17 inches. 


ae wins =, 
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Noo; 187 WT enaws 
A DICKER FOR THE CALF | 


SCENE at Walpole, N. H., with portraits of farmers 
as the actors in a bit of rural finesse. <All about the 
calf! Argument is on between the tall pot hat and 


the straw. MReferee is the gentleman in shirtsleeves 
in the chair tilted back against the apple tree. Even 
the pigeons feel something in the air. 

Height, 14 inches; width, 22 inches. 


No. 188 4 (a 
AGAWAM LAKE, SOUTHAMPTON, L. I. 15 0: 


PAINTED about 1890, the scene lacks some of the 
houses which have been erected since then and show 
at least one which has disappeared. The little sheet 
of water is dotted with the catboats of the summer 
residents. Fine golden tones of a day in September; 


clouds over the ocean beyond the dunes. 
Height, 16 inches; width, 26 inches. 


oe No. 139 


ELECTION TIME 
$0: 


OBSERVE the subtle suggestion of age! One of the 
raciest of the character drawings by this painter. 
Each person in the solemn conclave is a portrait; 
they are freeholders debating the chances of an ap- 
proaching election and their peculiar costumes will 
not prevent them from casting a vote or marching in 
a parade. 

Height, 18 inches; width, 24 inches. 


No. 140 


Jig tiered 


PYRRHUS WHARF, SOUTHAMPTON, L. I. 


LAKE AGAWAM, as the town pond is now called, had 
a ferryman once in a negro named Pyrrhus, who had 
Indian blood and ** convictions.’’ He would never 
take people over the pond on Sunday. Pyrrhus 
sailed with Capt. Cooper, who visited Japan before 
Commodore Perry. Late sundown effects. 

Height, 17% inches; width, 22 inches. 


No, 141 (55. fanek 
ON THE BUSHKILL, PENNSYLVANIA FQ). 


Woopep landscape, with low horizon line, the tops 
_ of tall trees dark against a dark blue sky. From the 
pool in the foreground formed by the Bushkill, the 
eye goes back to a smiling distance with farms. 


Height, 21 inches; width, 12 inches. 


is THE ARROYO AT PASADENA 


(U 


fine composition. 


Wh g. i fad: No. 142 | Re . a 


CALIFORNIAN landscape embracing a wide sweep of q 
valley and picturesque hills. Above the tumbling — 
sea of mountains are fleecy white mountains of cloud. _ 
Lively out-of-door effects, unusual with this painter | 
of hidden woodland nooks and quiet pastures. Aa 


Height, 24 inches; width, 32 inches. _ 


THE EVENING MEAL WS. 


TypicAL old New England farmhouse with elderly 
woman feeding her chickens. Pigeons flutter about 
the roof. Old worn-out but still beautiful apple 
trees to right. Observe the extension to the kitchen 


in the farmhouse. 
Height, 19 inches; width, 23 inches. 


AMERICAN ART ASSOCIATION, 


MANAGERS. 


THOMAS E. KIRBY, 


AUCTIONEER. 


No. 143 My, S clulfha5 


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